The suppression experienced by our lowly cornet has been present for many, many years as indicated by this famous letter from Herbert L. Clark, sent to Elden L.Benge dated January 13, 1921. Additional cornet enthusiasts have drug their feet in supporting the modern trumpet as stated by cornet enthusiast professor A.O. Peterson who is quoted in this booklet the Cornet, “The trumpet will never become more popular than the cornet because of its strident tone and piercing characteristics”.
The name Rolf Smedvig may not be on many peoples lips but his reputation among trumpet players is well known. Flamboyant, at times self-centered and overly confident were characteristics we all saw in him. His talents as a great trumpet player were also well known and envied by most of us who came in contact with him. His reputation as a member of the Empire Brass quintet was also well known for as the founder of this fine ensemble, he seemed at times to be offering new recordings every week. His recordings were legendary and we all loved to hear…
I wanted to share this you you only because the possibility of having these two great musicians together is extremely rare and it also demonstrates that a “Jazzer” can sometimes step up to the occasion when called upon. As you can see, Doc realized the situation he was in and was not completely comfortable with the experience. And he did it on a Bb trumpet, not a D trumpet. To most trumpet players who have perform this number, we realize why we choose to play it on a D and not a Bb.
This may be only entertaining to the older set but to those of us who have lived through the latter part of the Big Band years, these videos will bring back some memories, both good and bad. Pete Barbutti was the comic humorist for every musician and was able to tell the musicians side of the stories better than anyone.
Of course you can. And you could hunt elephants with a 22 caliber rifle also, but I wouldn’t recommend either. How are cornet solos different from trumpet solos? Literature which has been written especially to be performed on a cornet usually follows these characteristics- • Melodies are most often very lyrical and smooth. • Traditionally more vibrato is used in cornet solos. • Cornet solos many times have drastic tempo changes with grandiose retards and sudden accelerandi. • The cornet solo gives more liberties in the musical interpretation than in the trumpet literature. • Most cornet solos draw from a…
The changes made in the design, materials and construction of new trumpets has exploded in the past decade. The change has been so sudden and drastic that it is difficult to keep up with the advancements. The reason for this dramatic change is highly debatable but for what ever the reason, our trumpet world is shifting tradition to its breaking point. Are all these changes beneficial? Only time will tell. I do remember how earth shaking it was to have one of the “new” Rose colored liquored Olds Recording cornet. We were at the cutting edge of decadence. And to think…
Why is the cornet such a misunderstood and under-appreciated instrument? Is it from the fact that many students were started on the cornet and the trumpet is what you play when you “grow up”? Is it because we seldom see a cornet in our media today? Is it because the instrument manufacturers feel that they can make more money building and selling trumpets rather than cornets? Has the need for beautiful tone and musical stylings been replaced by the trumpet’s brighter sound and commanding image? Where have those beautiful cornet solos gone and why have they been replaced by such…
Gender Differences Between A Trumpet And A Cornet. When first reading this heading, some might conclude that I am a sexist, making a gender distinction between the two instruments. Some may also consider the possibility that I am losing my mind to which you would have to consult with my therapist (my wife). Some may also wonder what this title has to do with anything at all, and to those precious few, I write this post. I must admit that I do consider women different from men in many respects. I open doors for the ladies and even walk on…
When I first ran across this statement, I knew I had to have it posted where I could read it every morning. Comparing the two different work ethics can be a rude reminder that most of us are still amateurs. On which side of the isle do you stand? If you think you should be referred to as a professional, I would like to submit this challenge to you. Below I have posted a simple passage which at first perusal might seem an easy collection of notes to perform. With closer investigation you might consider this example as possibly more…
The following information was taken in its entirety from Wikimedia.com Clark Terry (December 14, 1920 – February 21, 2015) was an American swing and bebop trumpeter, a pioneer of the flugelhorn in jazz, composer, educator, and NEA Jazz Masters inductee. He played with Charlie Barnet (1947), Count Basie (1948–1951), Duke Ellington (1951–1959), Quincy Jones (1960) and Oscar Peterson (1964-1996). He was also with The Tonight Show Band from 1962-1972. Terry’s career in jazz spanned more than seventy years during which he became one of the most recorded jazz musicians ever, appearing on over 900 recordings. Terry also mentored many musicians…